百部不可不看的香港電影》遴選小組 “100 Must-See Hong Kong Movies”Selection Panel 羅卡 Law Kar 李焯桃 Lee Cheuk-To 蒲鋒 Po Fung 舒琪 Shu Kei 黃愛玲 Wong Ain-Ling 何思穎 Sam Ho

Total Page:16

File Type:pdf, Size:1020Kb

百部不可不看的香港電影》遴選小組 “100 Must-See Hong Kong Movies”Selection Panel 羅卡 Law Kar 李焯桃 Lee Cheuk-To 蒲鋒 Po Fung 舒琪 Shu Kei 黃愛玲 Wong Ain-Ling 何思穎 Sam Ho 百部不可不看的 香港電影 香港電影名揚海內外,影響深 語言的窒礙,而在本土以外寂寂無名 而遽然有了不論是外貌抑或意識形態上 方,也不代表它就是最權威的、最終的 遠,已是一個毋容爭辯的事實:它以僅 (即使在自身的城市裡,也不見得有特 的重大改變。這份改變還沒全部完成, 結論。更重要的目的,正正是透過這樣 僅「地區電影」(或『方言電影』)的 別顯著的地位),這實在是不公平的 短促的時間距離,無法讓我們釐清它的 的一個初步倡議,從而激發起更廣泛和 身份,卻足以躋身國際,與一眾「民族 (無論是對墾荒時代的偉大先輩們,抑 線索與脈絡,遂以此為分界線。 延續性的討論、修正。 電影」(或『國家電影』)並排而立。 或後來一代的「教育」而言)。《百部 籌劃這個節目的另一目的,是想 當然,講乜都係假。電影是拍來 註 在這方面,它最大的成就,應是以其最 不可不看的香港電影》這項節目,就是 引入「殿堂作品」 這項討論。藝術評 看的。所以我們喚這節目作《百部不可 擅長的動作片,尤其是它的動作設計、 意圖糾正這個缺失:首先是把「香港電 論每重境界,殿堂屬最高領域。能「登 不「看」的香港電影》,而非什麼「史 武打形式,還有混合了搞笑錯摸的混雜 影」這個名詞,重新界定時間版圖,上 堂入室」者,除了作品成績出類拔萃 上最佳/最強」。由十月開始,每月獻 風格,改變了全世界電影拍攝動作場面 溯至默片時期(1916年,有着重要歷 外,還包含了開拓性和影響力方面的考 映兩部,配合講座、對話,以饗大眾。 (如果不是整個類型的話)的樣貌與方 史意義的紀錄片《經巡中國》),中間 慮。名單中的一百部作品,由六位對香 排片方法,則盡量採取一遠一近、或可 法。不過,嚴格來說,這項成就其實僅 發展時期則囊括了國、粵語發音(不論 港電影長期研究和發表良多的評論人, 資有所比對/比較者,以求增添更多的 局限於上世紀八、九十年代的「港產 是前期的片廠現場收音,抑是後來的全 暨香港電影資料館的代表(羅卡、黃 趣味性,從更多的角度進行探索。 片」。香港電影有着悠長久遠的歷史, 面後期配音,或是當代的兩者混合), 愛玲、舒琪、李焯桃、何思穎、蒲鋒) 它在五十年代迄七十年代初期生產的大 左、中、右不同政治立場,和片廠或 聯合推選,在反覆討論的過程中,均以 註: 「殿堂作品」即英語的canon,通常譯 為「經典」,但容易與意義相差很大的 量粵語片、中間從無間斷過拍攝的國語 獨立製作的所有佳作。選片的句號暫 「殿堂作品」概念作為出發點。當然, 「classic」混淆。 片(六十年代末期起成為主流,更一度 時畫分在踏進千禧年的門檻前(2000 現在的結果,特別是在「一百」這個範 壟斷了整個市場),以至少量的潮語 年),除了是因為新世紀的揭幕,還因 圍的局限底下,難免牽涉個人喜好的傾 舒琪 片、廈語片,都因着拷貝的嚴重流失、 為有鑑於香港回歸之初,其電影也隨之 向,和可以爭論、或被忽略、遺漏的地 香港演藝學院電影電視學院院長 ~ 32 ~ ~ 3 ~ 100 Hong Must-See Kong Movies There are many good movies in the The films in the programme Li Cheuk-to, Artistic Director of practiced in Hong Kong, film history of Hong Kong. Most citizens represent Hong Kong cinema from the Hong Kong International Film undeniably has the most profound of the SAR are aware that we have its early years to the end of the 20th Festival; and Shu Kei, Dean of the impact on the rest of the world. Our a rich cinematic heritage, with one century. The turn of the century was School of Film & Television, the cinema has enjoyed widespread of the most prolific film industries in used as cut-off point for several Hong Kong Academy for Performing global success and, even more the world that has produced a body reasons. This provides some Arts. importantly, inspired much imitation, of wonderful films throughout the historical distance to the selection Films were selected mostly on which, of course, is the best form years. Yet, this rich tradition remains process. Also, movies are the artistic grounds but in some of flattery. It is therefore paramount largely unrecognized, even ignored. dominant art form of the last century instances for their historical that the people of Hong Kong Old movies, especially those made and Hong Kong films in this century significance. As the programme title should have a better understanding before the fabled Golden Age of the have experienced a development indicates, these are films that must and appreciation of our cinema’s 1980s, are considered irrelevant, very different from that of the last. be seen. Availability is therefore amazing accomplishments. poorly made and, perhaps worst, The titles were chosen by a panel another selection criterion. The idea boring. of experts well-versed in the history of “must see” loses meaning if the “100 Must-See Hong Kong Movies” of Hong Kong cinema. They are films cannot be seen. As such, all aims at changing that misguided Sam Ho, Programmer of the HKFA; of the titles on the list are, as far perception. It is a screening Po Fung, HKFA Research Officer; as we can determine, available for programme presented by the Hong Wong Ain-ling, former HKFA screening. Kong Film Archive, designed to let Research Officer and renowned Cinema, despite its ready capacity Sam Ho, viewers experience some of the writer; Law Kar, former HKFA for entertainment, is an art form. Programmer, best movies made in Hong Kong. Programmer and film researcher; And among all the art forms Hong Kong Film Archive ~ 45 ~ ~ 5 ~ 經巡中國01 A Trip Through China 導演/監製:班傑明‧布拉斯基 1916 黑白 無聲 英文插入字幕 Dir / Producer: Benjamin Brodsky 1916 B&W Silent Eng Intertitles 02 孤島天堂 Orphan Island Paradise A Trip Through China 導演/編劇:蔡楚生 原著:趙英才 攝影:吳蔚雲 剪接:錢筱章 佈景:葉堅 作曲:劉雪庵 作詞:蔡楚生 出品:大地 主演:黎莉莉、李清、姜明、李景波、洪虹 1939 黑白 國語 Dir / Scr: Tsai Chu-sang Orig Story: Zhao Yingcai Prod Co: The Grandland Cast: Li Lili, Lee Ching, Jiang Ming, Lee King-Po, Hong Hong 1939 B&W Mandarin 延安內貌03 又名 西北線上 Scenes of Yan'an aka On the Northwest Front Line 導演/編劇:林蒼、徐天翔 攝影:金昆 (即金焜) 監製:中國戰時電影研究會 出品:青年攝影團 1941 黑白 無聲 中文插入字幕 Dirs / Scrs: Lam Chong, Tsui Tin-cheung Producer: China War Time Film Research Association Prod Co: Qingnian Photography Group 1941 B&W Silent Chinese Intertitles ~ 98 ~ ~ 9 ~ 04 民族的吼聲 Roar of the People 導演:湯曉丹 編劇:李楓 監製:趙樹燊 出品:大觀 主演:張瑛、馮峰、吳回、王鶯、曹達華、梁無色 1941 黑白 粵語 Dir: Tang Xiaodan Scr: Lee Fung Prod Co: Grandview Cast: Cheung Ying, Fung Fung, Ng Wui, Wong Ang, Tso Tat-wah 1941 B&W Cantonese ~ 98 ~ ~ 9 ~ 勳業千秋05 又名 建國史之一頁 A Page of History 導演/監製/剪輯:黎民偉 攝影:黎民偉、羅永祥、梁林光 出品:民新 1941 黑白 國語旁白 中文插入字幕 Dir / Scr: Lai Man-wai Prod Co: China Sun 1941 B&W Mandarin Chinese Intertitles ~ 1011 ~ ~ 11 ~ 06 清宮秘史 Sorrows of the Forbidden City 導演:朱石麟 編劇/原著:姚克劇作《清宮怨》 攝影:莊國鈞 剪接:王朝曦 音樂:章正凡、陸仲任 佈景:包天鳴 監製:李祖永 出品:永華 主演:周璇、舒適、洪波、唐若青、羅維 1948 黑白 國語 Dir: Zhu Shilin Orig Story / Scr: Yao Ke's play Sorrows of the Qing Court Prod Co: Yung Hwa Cast: Zhou Xuan, Shu Shi, Hong Bo 1948 B&W Mandarin ~ 1011 ~ ~ 11 ~ 血染海棠紅07 Blood will Tell 導演:岳楓 編劇:陶秦 攝影:董克毅 作曲:李厚襄 監製:張善琨 出品:長城 主演:嚴俊、白光、陳娟娟、韓非 1949 黑白 國語 Dir: Griffin Yue Feng Scr: Doe Ching Prod Co: Great Wall Cast: Yan Jun, Bai Guang, Chen Juanjuan, Han Fei 1949 B&W Mandarin ~ 1312 ~ ~ 13 ~ 上集之鞭風滅燭黃飛鴻正傳下集大結局之火燒霸王莊黃飛鴻正傳 08 Wong Fei-hung's Wong Fei-hung Whip that Smacks the Candle Burns the Tyrants' Lair 導演:胡鵬 編劇:吳一嘯 導演:胡鵬 編劇:吳一嘯 攝影:鄒志俠 武術指導:梁永亨 武術指導:梁永亨 監製:張作康 出品:永耀 監製:張作康 出品:永耀 主演:關德興、曹達華、李蘭、鄧德華 主演:關德興、曹達華、李蘭、石堅 1949 黑白 粵語 1949 黑白 粵語 Dir: Wu Pang Scr: Ng Yat-siu Dir: Wu Pang Scr: Ng Yat-siu Prod Co: Yongyao Prod Co: Yongyao Cast: Kwan Tak-hing, Tso Tat-wah, Lee Lan, Tang Tak-wah Cast: Kwan Tak-hing, Tso Tat-wah, Lee Lan, Sek Kin 1949 B&W Cantonese 1949 B&W Cantonese ~ 1312 ~ ~ 13 ~ 09 珠江淚 Dawn Must Come 導演:王為一 編劇:陳殘雲 攝影:羅君雄 剪接:蔡昌 音樂:陳歌辛 監製:蔡楚生 出品:南國 主演:張瑛、王辛、李清、石堅 1950 黑白 粵語 Dir: Wong Wai-yat Scr: Chan Chan-wan Prod Co: Nanguo Cast: Cheung Ying, Wong Sun, Lee Ching, Sek Kin 1950 B&W Cantonese ~ 1415 ~ ~ 15 ~ 10 細路祥 The Kid 導演:馮峰 編劇:左几 原著:袁步雲同名漫畫 攝影:阮曾三 剪接:孟龍 監製:梁標 出品:大同 主演:李小龍、伊秋水、李海泉、馮峰 1950 黑白 粵語 Dir: Fung Fung Scr: Tso Kea Orig Story: Yuen Po-wan's comic of the same title Prod Co: Datong Cast: Bruce Lee, Yee Chau-shui, Lee Hoi-chuen, Fung Fung 1950 B&W Cantonese ~ 1617 ~ ~ 17 ~ 11 說謊世界 Awful Truth 導演:李萍倩 編劇:吳鐵翼、陶秦 攝影:莊國鈞 剪接:朱朝升 音樂:李厚襄 監製:袁仰安 出品:長城 主演:李麗華、韓非、嚴俊、王元龍 1950 黑白 國語 Dir: Li Pingqian Scrs: Doe Ching, Wu Tieyi Prod Co: Great Wall Cast: Li Lihua, Han Fe, Yan Jun, Wang Yuen-lung 1950 B&W Mandarin ~ 1617 ~ ~ 17 ~ 擺錯迷魂陣 12 The Misarranged Love Trap 導演/編劇:莫康時 原著:高雄《經紀日記》 攝影:魏海峰 剪接:余純 製片:莫康時 出品:南聯 主演:張瑛、陸小仙、孔紫薇(即孔雀)、伊秋水 1950 黑白 粵語 Dir / Scr: Mok Hong-si Orig Story: Ko Hung's Diary of a Broker Prod Co: Nanlian Cast: Cheung Ying, Luk Siu-sin, Yee Chau-shui, Hung Tsi-mei (aka Hung Cheuk) 1950 B&W Cantonese ~ 1918 ~ ~ 19 ~ 血染杜鵑紅 13 導演:李晨風 編劇:馮一葦 原著:吳楚帆Blood-stained Azaleas 攝影:何鹿影 剪接:陳中堅 撰曲:吳一嘯 音樂:盧家熾、胡文森 監製:林康元 製片:馮一葦 出品:真明 主演:吳楚帆、白燕、小燕飛、葉萍 1951 黑白 粵語 Dir: Lee Sun-fung Scr: Fung Yat-wai Orig Story: Ng Cho-fan Prod Co: Zhenming Cast: Ng Cho-fan, Pak Yin, Siu Yin Fei, Yip Ping 1951 B&W Cantonese ~ 1918 ~ ~ 19 ~ 年 14 誤佳期 Should They Marry? 導演:朱石麟、白沉 編劇:盧珏 攝影:曹進雲 剪接:王朝曦 音樂:李厚襄、葉純之 佈景:包天鳴 製片:裘逸葦 出品:龍馬 主演:李麗華、韓非、姜明、藍青 1951 黑白 國語 Dirs: Zhu Shilin, Bai Chen Scr: Lu Jue Prod Co: Dragon-Horse Cast: Li Lihua, Han Fei, Jiang Ming, Nan Qing 1951 B&W Mandarin ~ 2021 ~ ~ 21 ~ 15 紅菱血紅菱血 (上集)(下集) Mysterious Murderer (Part 2) Mysterious Murderer (Part 1 ) 導演/編劇/原著:唐滌生 導演/編劇/原著:唐滌生 攝影:何鹿影 剪接:余純 攝影:何鹿影 剪接:余純 監製:何澤蒼 製片:呂楚雲 出品:澤生 監製:何澤蒼 製片:呂楚雲 出品:澤生 主演:芳艷芬、羅品超、黃千歲、林妹妹 主演:芳艷芬、羅品超、林妹妹、黃千歲、碧茜 1951 黑白 粵語 1951 黑白 粵語 Dir / Scr / Orig Story: Tong Tik-sang Dir / Scr / Orig Story: Tong Tik-sang Prod Co: Chak Sang Prod Co: Chak Sang Cast: Fong Yim-fun, Luo Pinchao, Wong Chin-sui, Lam Mui-mui Cast: Fong Yim-fun, Luo Pinchao, Lam Mui-mui, Wong Chin-sui, Pik Sai 1951 B&W Cantonese 1951 B&W Cantonese ~ 2021 ~ ~ 21 ~ 16 敗家仔 The Prodigal Son 導演/編劇:吳回 攝影:孫倫 剪接:蔡昌 美術指導:李華 製片:陳文 出品:新聯 主演:張瑛、盧敦、白燕、黃曼梨、容小意 1952 黑白 粵語 Dir / Scr: Ng Wui Prod Co: Sun Luen Cast: Cheung Ying, Lo Duen, Pak Yin, Wong Man-lei, Yung Siu-yi 1952 B&W Cantonese ~ 2322 ~ ~ 23 ~ 導演/編劇:李晨風 原著:巴金同名小說 攝影:孫倫 剪接:余純 音樂:盧家熾 撰曲:李願聞 17 製片:朱紫貴 出品:中聯 主演:吳楚帆、張活游、白燕、容小意 1953 黑白 粵語 春 Dir / Scr: Lee Sun-fung Orig Story: Ba Jin's novel of the same title Prod Co: The Union Cast: Ng Cho-fan, Cheung Wood-yau, 家 Pak Yin, Yung Siu-yi 1953 B&W Cantonese Spring Family 秋 Autumn 導演/編劇:吳回 原著:巴金同名小說 導演/編劇:秦劍 原著:巴金同名小說 攝影:魏海峰 剪接:蔡昌 攝影:孫倫 剪接:梁恭、鄺錦湖 音樂:盧家熾 製片:朱紫貴 出品:中聯 製片:朱紫貴 出品:中聯 主演:吳楚帆、張瑛、紫羅蓮、張活游、梅綺、黃曼梨、小燕飛 主演:吳楚帆、張活游、紅線女、容小意、石堅 1953 黑白 粵語 1954 黑白 粵語 Dir / Scr: Ng Wui Orig Story: Ba Jin's novel of the same title Dir / Scr: Chun Kim Orig Story: Ba Jin's novel of the same title Prod Co: The Union Prod Co: The Union Cast: Ng Cho-fan, Cheung Ying, Tsi Lo Lin, Cheung Wood-yau Cast: Ng Cho-fan, Cheung Wood-yau, Hung Sin Nui, Yung Siu-yi, Sek Kin 1953 B&W Cantonese 1954 B&W Cantonese ~ 2425 ~ ~ 25 ~ 18 中秋月 Festival Moon 導演:朱石麟 編劇:朱石麟、沈寂 攝影:董克毅、關敬民 剪接:莊文郎 美術:萬籟鳴 音樂:李厚襄 作曲:黎草田 製片:韓雄飛 出品:鳳凰 主演:韓非、江樺、龔秋霞、文逸民 1953 黑白 國語 Dir: Zhu Shilin Scr: Zhu Shilin, Shen Ji Prod Co: Feng Huang Cast: Han Fei, Jiang Hua, kung Chiu-hsia 1953 B&W Mandarin ~ 2627 ~ ~ 27 ~ 19 危樓春曉 In the Face of Demolition 導演:李鐵 編劇:余幹之(即盧敦與陳雲) 攝影:孫倫 剪接:梁誠、潘照 美術指導:李華 製片:陳文 出品:中聯 主演:吳楚帆、張瑛、紫羅蓮、梅綺、黃曼梨 1953 黑白 粵語 Dir: Lee Tit Scrs: Lo Duen, Chan Wan Prod Co: The Union Cast: Ng Cho-fan, Cheung Ying, Tsi Lo Lin, Mui
Recommended publications
  • UNIVERSITY of CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: the Politics of Reading Between East and East a Dissertati
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: The Politics of Reading Between East and East A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Alvin Ka Hin Wong Committee in Charge: Professor Yingjin Zhang, Co-Chair Professor Lisa Lowe, Co-Chair Professor Patrick Anderson Professor Rosemary Marangoly George Professor Larissa N. Heinrich 2012 Copyright Alvin Ka Hin Wong, 2012 All rights reserved. The dissertation of Alvin Ka Hin Wong is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page …………………………………………………….……………….….…iii Table of Contents ………………………………………………………………..…….…iv List of Illustrations ……………………………………………………………….…........v Acknowledgments …………………………………………………………………….....vi Vita …………………………………………………….…………………………….…...x Abstract of the Dissertation ………………………………………………….……….….xi INTRODUCTION.……………………………………………………………….……....1 CHAPTER ONE. Queering Chineseness and Kinship: Strategies of Rewriting by Chen Ran, Chen Xue and Huang Biyun………………………….………...33
    [Show full text]
  • LAW Bun 羅斌(1923.4.27–2012.5.21) Producer
    LAW Bun 羅斌(1923.4.27–2012.5.21) Producer Born Luo Jin-pei in Macao and grew up in Shanghai, Law was a native of Kaiping, Guangdong. After graduating from The Lester School and Henry Lester Institute of Technical Education, he moved south to Hong Kong and attended engineering classes at the Far East Flying Training School. Law returned to Shanghai during the Japanese occupation. There he founded the Universal Publisher with friends and published the Blue Books and other magazines. He resettled in Hong Kong in the late 1940s and continued to operate Universal Publisher. And the business continued to grow, publishing Boxing Magazine, Universal Literature and Art, Universal Screen and others. In October of 1959, Law launched the Hong Kong Daily News. In 1961, Law and Miu Hong-nee formed Hong Kong Film Company. Their first production was an adaptation of the wuxia novel The Secret Book, published by Universal. They produced a total of five episodes with outstanding results. Most films produced by the company were adaptations of popular novels or serials published by Law. All were produced by his wife Ho Lai-lai, and occasionally co-produced by him. The couple came to be known as trailblazers for a new wave of wuxia films: four episodes of The Azure Blood and the Golden Pin (1963-64) and The Mighty Snow Sword (1964), three episodes of The Ghost with Six Fingers (1965), and two episodes of Paragon of Sword and Knife (1967-68), etc. Amongst them, The Green-Eyed Lady (1967) was critically praised for crafting a new image of the rebellious heroine, while successfully integrating elements of action and romance and creating a spectacular atmosphere.
    [Show full text]
  • Laurent Courtiaud & Julien Carbon
    a film by laurent courtiaud & julien carbon 1 Red_nights_93X66.indd 1 7/05/10 10:36:21 A FILM BY LAURENT COURTIAUD & JULIEN CARBON HonG KonG, CHIna, FranCe, 2009 FrenCH, CantoneSe, MandarIn 98 MInuteS World SaleS 34, rue du Louvre | 75001 PARIS | Tel : +33 1 53 10 33 99 [email protected] | www.filmsdistribution.com InternatIonal PreSS Jessica Edwards Film First Co. | Tel : +1 91 76 20 85 29 | [email protected] SYNOPSIS A CantoneSE OPERA TELLS THE TRAGEDY of THE Jade EXecutioner, WHO HAD created A PoiSon THat KILLED by GIVING THE ultimate PLEASURE. THIS LEGEND HAPPENS AGAIN noWadayS WHEN A FrencH Woman EScaPES to HonG KonG AFTER HAVING KILLED HER loVER to taKE AN ANTIQUE HoldinG, THE infamouS Potion. SHE becomeS THE HAND of fate THat PITS A TAIWANESE GANGSTER AGAINST AN EPicurean Woman murderer WHO SEES HERSELF AS A NEW incarnation of THE Jade EXecutioner. 4 3 DIRECTORS’ NOTE OF INTENT “ Les Nuits Rouges du Bourreau de But one just needs to wander at night along Jade ”. “Red Nights Of The Jade Exe- the mid-levels lanes on Hong Kong island, a cutioner”. The French title reminds maze of stairs and narrow streets connecting of double bills cinemas that scree- ancient theatres, temples and high tech buil- ned Italian “Gialli” and Chinese “Wu dings with silent mansions hidden among the trees up along the peak, to know this is a per- Xia Pian”. The end of the 60s, when fect playground for a maniac killer in trench genre and exploitation cinema gave coat hunting attractive but terrified victims “à us transgressive and deviant pictures, la Mario Bava”.
    [Show full text]
  • CELEBRITY INTERVIEWS a A1 Aaron Kwok Alessandro Nivola
    CELEBRITY INTERVIEWS A A1 Aaron Kwok Alessandro Nivola Alexander Wang Lee Hom Alicia Silverstone Alphaville Andrew Lloyd Webber Andrew Seow Andy Lau Anita Mui Anita Sarawak Ann Kok Anthony Lun Arthur Mendonca B Bananarama Benedict Goh Billy Davis Jr. Boris Becker Boy George Brett Ratner Bruce Beresford Bryan Wong C Candice Yu Casper Van Dien Cass Phang Celine Dion Chow Yun Fat Chris Rock Chris Tucker Christopher Lee Christy Chung Cindy Crawford Cirque du Soleil Coco Lee Conner Reeves Crystals Culture Club Cynthia Koh D Danny Glover David Brown David Julian Hirsh David Morales Denzel Washington Diana Ser Don Cheadle Dick Lee Dwayne Minard E Edward Burns Elijah Wood Elisa Chan Emil Chau Eric Tsang F Fann Wong Faye Wong Flora Chan G George Chaker George Clooney Giovanni Ribisi Glen Goei Gloria Estefan Gordan Chan Gregory Hoblit Gurmit Singh H Halle Berry Hank Azaria Hugh Jackman Hossan Leong I Irene Ang Ix Shen J Jacelyn Tay Jacintha Jackie Chan Jacky Cheung James Ingram James Lye Jamie Lee Jean Reno Jean-Claude van Damme Jeff Chang Jeff Douglas Jeffrey Katzenberg Jennifer Paige Jeremy Davies Jet Li Joan Chen Joe Johnston Joe Pesci Joel Schumacher Joel Silver John Travolta John Woo Johnny Depp Joyce Lee Julian Cheung Julianne Moore K KC Collins Karen Mok Keagan Kang Kenny G Kevin Costner Kim Robinson Kit Chan Koh Chieng Mun Kym Ng L Leelee Sobieski Leon Lai Lim Kay Tong Lisa Ang Lucy Liu M Mariah Carey Mark Richmond Marilyn McCoo Mary Pitilo Matthew Broderick Mel Gibson Mel Smith Michael Chang Mimi Leder Moses Lim N Nadya Hutagalung Nicholas
    [Show full text]
  • Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
    FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3.
    [Show full text]
  • Global Offering
    IMPORTANT IMPORTANT: If you are in any doubt about any of the contents of this prospectus, you should seek independent professional advice. ERNEST BOREL HOLDINGS LIMITED 依 波 路 控 股 有 限 公 司 (Incorporated in the Cayman Islands with limited liability) GLOBAL OFFERING Number of Offer Shares in the Global Offering : 66,000,000 Shares (subject to the Over-allotment Option) Number of Hong Kong Offer Shares : 6,600,000 Shares (subject to adjustment) Number of International Offer Shares : 59,400,000 Shares (subject to adjustment and the Over-allotment Option) Maximum Offer Price : HK$3.46 per Offer Share, plus 1% brokerage, SFC transaction levy of 0.003%, and Stock Exchange trading fee of 0.005% (payable in full on application in Hong Kong dollars and subject to refund) Nominal Value : HK$0.01 per Share Stock Code : 1856 Sole Sponsor, Sole Global Coordinator, Sole Bookrunner and Sole Lead Manager Hong Kong Exchanges and Clearing Limited, The Stock Exchange of Hong Kong Limited and Hong Kong Securities Clearing Company Limited take no responsibility for the contents of this prospectus, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this prospectus. A copy of this prospectus, having attached thereto the documents specified in the paragraph headed ‘‘ Documents Delivered to the Registrar of Companies and Available for Inspection’’ in Appendix V, has been registered by the Registrar of Companies in Hong Kong as required by Section 342C of the Companies (Winding Up and Miscellaneous Provisions) Ordinance (Chapter 32 of the Laws of Hong Kong).
    [Show full text]
  • Der Teufel Hat Den Schnaps Gemacht...Um Uns Zu Stärken
    Repositorium für die Medienwissenschaft Heinz-Jürgen Köhler Der Teufel hat den Schnaps gemacht...um uns zu stärken. Trinken und Kämpfen in Jackie Chans DRUNKEN MASTER-Filmen 2001 https://doi.org/10.25969/mediarep/110 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Köhler, Heinz-Jürgen: Der Teufel hat den Schnaps gemacht...um uns zu stärken. Trinken und Kämpfen in Jackie Chans DRUNKEN MASTER-Filmen. In: montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, Jg. 10 (2001), Nr. 2, S. 107–114. DOI: https://doi.org/10.25969/mediarep/110. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.
    [Show full text]
  • The Comparison of the Cantonese Sentence Final Particles Bo (䨂) and Wo (⎲): from the 1940S to the 1970S
    www.ccsenet.org/ach Asian Culture and History Vol. 2, No. 2; July 2010 The Comparison of the Cantonese Sentence Final Particles bo (䨂) and wo (⎲): From the 1940s to the 1970s Wai-Mun Leung Department of Chinese, The Hong Kong Institute of Education 10 Lo Ping Road, Taipo, Hong Kong Tel: 852-2948-7223 E-mail: [email protected] Abstract In the past decades, researchers of Cantonese treated the frequently used sentence-final particles (hereafter SFPs) wo3 (ୢ, mid level tone) and bo3 (గ, mid level tone) as variant forms, the former being the result of sound change from the latter (Kwok 1984, Luke 1990, Li 1995, Fang 2003). However, Leung (2010) argues that wo3 in the late 20th century performs the functions of realization, reminder, hearsay and contrast while the main function of bo3 is only to show contrast, thus they are not entirely interchangeable. To explore the development of the two particles from the historical prospective, this paper attempts to examine them in Hong Kong Cantonese diachronically based on the spoken data of old Cantonese movies of 1940s and 1970s. Keywords: Cantonese, Sentence-final Particles, Historical prospective, Spoken data of movies 1. Introduction As a sentence-final particle indicating mood and tone-of-voice, wo3 (mid level tone) is used very frequently in modern Cantonese. Most of the previous scholars (Kwok 1984, Deng 1991, Li 1995, Fang 2003) considered wo3 as the variant or phonetically weakened result of the SFP bo3 (mid level tone) and the focus of discussion in their work is often on bo3.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Killing Time: the Handover and Its Afterlives
    Hong Kong Studies, Vol. 1, No. 1 (Spring 2018), 100–115 Killing Time: The Handover and ,ts Afterlives Copyrighted Material of The Chinese University Press | AllCarlos Rights ReservedRojas Abstract This essay uses an analysis of Fruit Chan’s 2016 film Kill Time to reflect on the legacy of the Handover, and on the significance of its upcoming twentieth—and, later, fiftieth—anniversaries. Although Chan’s film is set in contemporary Beijing, is based on a novel by a Painland Chinese author, and at first glance appears to have little to do with Hong Kong, this essay argues that if we look beyond the film’s surface narrative, we find that the work explores a set of concerns relevant to the Handover and its legacies. Of particular interest is the sense of anticipation and anxiety that the Handover has generated, as well as the sense of potentiality and foreboding contained in the 1984 Sino-British Joint Declaration’s guarantee that Hong Kong would enjoy a post-Handover moratorium of “fifty years without change.” At the same time, [the Handover] also should not become a black hole that we pretend doesn’t exist so that we don’t need to approach it or touch it. Therefore, in 1997 I resolved to write not about its present, but rather about its past while at the same time writing about its future. From a future vantage point I sought to reconstruct the past; and from a past vantage point I sought to project the future. From this deliberate interweaving of past and future, I hope that a present that is more full of possibility might gradually emerge.
    [Show full text]
  • Filmpodium Biel/Bienne
    FILMPODIUM BIEL/BIENNE Do/Je 19/08 12h15 IN THE MOOD FOR LOVE Sa 21/08 20h30 Wong Kar-Wai, HK/F/TH 2000, 98’, Ov/d,f CINÉ-MIDI So/Di 22/08 10h30 Fr/Ve 27/08 20h30 So/Di 29/08 18h00 Do/Je 19/08 18h00 AS TEARS GO BY Mo/Lu 23/08 20h30 Wong Kar-Wai, Hongkong 1988, 102’, Ov/d Fr/Ve 27/08 18h00 Do/Je 19/08 20h30 DAYS OF BEING WILD Di/Ma 24/08 20h30 Wong Kar-Wai, Hongkong 1990, 100’, Ov/d Sa 28/08 18h00 Mo/Lu 30/08 20h30 Fr/Ve 20/08 18h00 ICH BIN DEIN MENSCH So/Di 22/08 18h00 Maria Schrader, D 2021, 104’, D/f CINÉ-MIDI Do/Je 26/08 20h30 So/Di 29/08 20h30 Do/Je 02/09 12h15 Fr/Ve 20/08 20h30 CHUNGKING EXPRESS Mo/Lu 23/08 18h00 Wong Kar-Wai, Hongkong 1994, 98’, Ov/d Sa 28/08 20h30 Di/Ma 31/08 20h30 Sa 21/08 18h00 PREPARATIONS TO BE TOGETHER So/Di 22/08 20h30 FOR AN UNKNOWN PERIOD OF TIME Di/Ma 24/08 18h00 Lili Horvát, H 2020, 95’, Ov/d,f Do/Je 26/08 12h15 CINÉ-MIDI Mo/Lu 30/08 18 h00 Fr/Ve 03/09 20h30 Do/Je 26/08 18h00 DEUX So/Di 29/08 10h30 Filippo Meneghetti, F/L/B 2019, 95’, F/d CINÉ-MIDI Sa 04/09 18h00 Mo/Lu 06/09 18h00 Do/Je 09/09 12h15 Fr/Ve 10/09 20h30 Di/Ma 31/08 18h00 FALLEN ANGELS IN THE MOOD FOR LOVE Do/Je 02/09 20h30 Wong Kar-Wai, HK 1995, 99’, Ov/d Mo/Lu 06/09 20 h 30 Willkommen im filmischen Universum von Wong Kar-Wai – dem Hongkong-Regisseur, dessen Name für pure Kinomagie steht.
    [Show full text]
  • Gender Trouble in Hongkong Cinema Tammy Cheung Et Michael Gilson
    Document généré le 28 sept. 2021 10:00 Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung et Michael Gilson Le nouveau cinéma chinois Résumé de l'article Volume 3, numéro 2-3, printemps 1993 Cet article fait le point sur le cinéma contemporain de Hongkong en se penchant plus particulièrement sur des questions entourant les URI : https://id.erudit.org/iderudit/1001198ar représentations de personnages féminins et masculins. Les films, la société et DOI : https://doi.org/10.7202/1001198ar la culture du Hongkong d’aujourd’hui commencent à peine à s’intéresser à la réalité gaie et lesbienne, et, dans une certaine mesure, au féminisme. Comment Aller au sommaire du numéro les différents types de personnages féminins sont-ils présentés dans le cinéma contemporain de Hongkong? Comment le concept traditionnel chinois de « mâle » diffère-t-il de celui que nous connaissons en Occident? La popularité récente de personnages transsexuels dans plusieurs films est aussi examinée. Éditeur(s) Les auteurs soutiennent que des représentations stéréotypées de personnages Cinémas féminins, masculins et homosexuels prédominent dans l’industrie cinématographique de Hongkong et que les représentations positives de gais et de lesbiennes y sont le plus souvent absentes. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Cheung, T. & Gilson, M. (1993). Gender Trouble in Hongkong Cinema. Cinémas, 3(2-3), 181–201. https://doi.org/10.7202/1001198ar Tous droits réservés © Cinémas, 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
    [Show full text]